YEREVAN/MELBOURNE — John Kachoyan (born in Oatley, New South Wales, Australia) is a multi-award-winning freelance director, writer, script developer and teacher who works internationally in theatre, opera and screen. He’s skilled at conceiving, developing and realising stories across multiple genres and formats especially new work and adaptations from or for live performance.
He is currently literary manager at Australian Plays, on Film Victoria’s Key Talent Register, the Australian Writer’s Guild’s Pathways Programme and recently completed an advanced diploma in script editing and development at Australian Film Television and Radio School. He was formerly Co-Creative Director and CEO of multi-Green Room Award winning MKA: Theatre of New Writing and Director In Residence for Bell Shakespeare. John holds an MA (Advanced Theatre Practice) from the Royal Central School of Speech and Drama (RCSSD) and originally trained at the National Institute of Dramatic Art (NIDA).
He was a member of the Australia Council’s 2015 Emerging Leaders Development Programme and the inaugural Melbourne Lincoln Centre Director’s Lab. He spent 2007-2012 working with leading new writing theatres in London where he co-founded IronBark — producing the best Australian writing for UK audiences. After returning home, he founded Pub Plays with Currency Press presenting neglected Australian classics and was a Critical Stages Resident in 2013 before moving to Melbourne where he lives with his partner, son and Roxy the Staffy.
John is an accomplished public speaker and his writing has been published in Cream, Filmink and Dwell. He has taught at RSCCD, University of Sydney, Victorian College of the Arts, NIDA & Monash University and is currently developing an adaptation of Joan London’s critically acclaimed novel, ‘Gilgamesh’ for stage and screen.
John is privileged to work primarily on the lands of the Wurundjeri peoples of the Kulin Nation and the Gadigal and Guring-gai of the Eora Nation and pays respect to their Elders, past and present.
Dear John, I assume the world is mostly not aware about Australian dramaturgy. Do Australian playwrights limit themselves in Australian topics or also in universal subjects?